Signed and dated 1912, this is one of two known drawings for the painting The Galleria in Milan. Carlo Carrà has softened the pencil marks, possibly with his fingers, to produce the tonal effects he would shortly replicate with his brush. Both drawings confirm that Carrà’s composition and many of the forms were already decided prior to beginning work on the canvas. A modified chiaroscuro and chromatic pattern, and a greater complexity of form across the whole of the finished painting, were a natural consequence of working on more than double the scale when he took up his oil paints.